By Harold Bloom
This quantity gathers jointly what Harold Bloom considers the simplest feedback at the crucial American ladies poets. tested is the paintings of Anne Bradstreet, Emily Dickinson, Gertrude Stein, H.D. (Hilda Doolittle), Marianne Moore, and Louise Bogan. This name, American ladies Poets (16501950), a part of Chelsea condo Publishers’ smooth serious perspectives sequence, examines the key works of yankee girls Poets (1650-1950) via full-length severe essays via professional literary critics. additionally, this identify includes a brief biography on American ladies Poets (1650-1950), a chronology of the author’s lifestyles, and an introductory essay written through Harold Bloom, Sterling Professor of the arts, Yale collage.
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Additional resources for American Women Poets 1650-1950 (Modern Critical Views)
The poem thus stands poised between apostasy and affirmation—a poise that is, however, unstable and combative. There is no trace here of a timid Dickinson. The attack is frontal. And it is a linguistic attack, both as an assault through poetry and as a poem in which deﬁant human language strives against, but remains facing, the divine Word. In this, Dickinson stands at the threshold of a modernity in which such struggle becomes typical. Later poets, however, could reach toward some resolution of the conﬂict between human and divine utterance by attempting either to reaffirm the traditional bond between them or to construct new frameworks based upon premises altogether different from the traditional ones.
Each of these names does, however, recall not simply an astronomer, but a scientist who discovered a celestial body hitherto unknown. A conjectural reading of 32 JOANNE FEIT DIEHL “As Herschel’s private interest” suggests that if Herschel’s (any of the Herschels) public interests were so vast, how great might his/her secret interest have been; the speaker’s secret is as secure as Herschel’s because it also is cosmological in scope and as much a part of the hitherto unknown. The closing line with its reference to Mercury makes both the astronomical connection to Herschel and the link back to the Roman god, a pagan deity as opposed to the Judeo-Christian presence with whom the poem opens.
By rejecting the relationships asserted in the poem, the ﬁnal stanza poses the essentially ontological question: for what purpose do these trees exist? ” The repeated “n” sounds separated by the long “o” of “unknown” re-sound the ﬁnality of the word’s meaning and, simultaneously, the impossibility of ever achieving that meaning. III To live in such a world is to live, no matter how brilliantly, alone. Yet, if God will not reveal his meaning or the meaning of his world, there may yet be another faith to which Dickinson can turn, one based upon an alternative to the exclusive, rejecting patriarchal order she must herself renounce.
American Women Poets 1650-1950 (Modern Critical Views) by Harold Bloom